My written work explores the nature of listening to and making sense of sound. Taking advantage of the triangulation of composition, theory and critical reflection I seek to apply a practice informed critique to develop new frameworks to aid future analysis and creative practice in sound.

Audiovisual Spaces: Spatiality, Experience and Potentiality in Audiovisual Composition

IN: (ed.) A Knight-Hill (2020) Sound & Image: Aesthetics and Practices. Routledge. Edited Volume – Published June 2020. ISBN 9780367271466 https://www.routledge.com/Sound-and-Image-Aesthetics-and-Practices/Knight-Hill/p/book/9780367271466 Abstract Echoing the spatial turns across the humanities, this chapter applies post-Bergsonian conceptions of space via Deleuze & Guttari, Massumi and Massey, to explore how a spatial conception might provide novel perspectives to conceive […]

Sound & Image: Aesthetics and Practices

Edited Volume – Published June 2020. ISBN 9780367271466 https://www.routledge.com/Sound-and-Image-Aesthetics-and-Practices/Knight-Hill/p/book/9780367271466 Bringing together a diverse array of international experts and practitioners, this book reflects the ideas, and approaches surrounding contemporary audiovisual practice. Engaging with both traditional and new media formats, each chapter explores a facet of audiovisual art. From Narrative Film to Visual Music, to Live VJ […]

Electroacoustic Music: An Art of Sound

IN: Foundations in Sound Design for Linear Media, Routledge 2020. https://www.routledge.com/Sound-Design/book-series/SDS Chapter Review: “Knight-Hill continues on with “Electroacoustic Music” in what should have been allocated its own section. While the chapter covers the well-trodden ground of Stockhausen, Schaeffer, Oram, and U.S. computer music, it does so in a concise and accessible way, resulting in an ideal […]

The Nature Of Sound And Recording

IN: Foundations in Sound Design for Linear Media, Routledge 2020. https://www.routledge.com/Sound-Design/book-series/SDS Chapter Review: “Stand out chapters include Knight-Hill’s comprehensive overview of “The Nature of Sound and Recording.” There are many books and chapters covering such fundamental theory but few that do so as thoroughly yet concisely as Knight-Hill’s. The accompanying diagrams are simple enough for […]

Sonic Diegesis: Reality and the Expressive Potential of Sound in Narrative Film

IN: Quarterly Review of Film and Video , Volume 36, 2019 – Issue 8 https://doi.org/10.1080/10509208.2019.1593027 Abstract Perspectives and approaches from electroacoustic music are applied to support a phenomenological understanding of the role of sound in film, whereby all sounds are presented as potential drivers of cinematic diegesis.  Building upon notions of the non-diegetic fallacy (Winters 2010, Kassabian […]

Stories of a ruined space: filmic and sonic approaches to practice-as-research

IN: Media Practice and Education  Volume 19, 2018 – Issue 3: Filmmaking in the Academy https://doi.org/10.1080/25741136.2018.1519989 ABSTRACT This article reflects on the authors’ work in investigating how audiovisual practices might represent the experience of disused or ruined structures. With backgrounds in visual and sound practice respectively, the authors have, in their most recent experimental film project Coccolith [UK: […]


IN: eContact 19 2 Light + Sound https://econtact.ca/19_2/index.html (I)MAGE SOUND(S) is a collaborative audiovisual project led by artist Jim Hobbs and composer Andrew Hill. It seeks to bring together the practices of experimental film and electroacoustic music to create live expanded audiovisual performances. The goals of the project are to combine, share and reflect upon […]

Listening for Context: Interpretation, abstraction and the real

IN: Organised Sound 22(1). pp. 11-19 [April 2017] DOI: https://doi.org/10.1017/S1355771816000297 Abstract This paper seeks to explore the proposed notion of ‘context-based composition’ by examining the nature of ‘real-world’ context. It does this by studying the way in which listeners interpret sounds, working towards a deeper understanding of what it is that we mean by ‘real-world’ sound […]

Theatres of Sounds: the role of context in the presentation of electroacoustic music.

IN SONIC 2015 Abstract Why do we work to create multichannel concerts? Given that we do, might we further consider the holistic experience of coming to a concert and how that impacts upon the audience’s engagement with the music? Why do electrocoustic music concerts take place in the locations that they do? Do we consider […]

The EARS 2 pedagogical project – an eLearning environment to introduce learners to sound-based music

In: King, Andrew and Himonides, Evangelos, (eds.) Proceedings of the Sempre MET2014: Researching Music, Education, Technology: Critical Insights. International Music Education Research Centre (iMerc), pp. 129-134. http://hdl.handle.net/2086/12098 ABSTRACT Discussions have been on-going in the UK regarding how to offer the broadest musical repertoire possible to young learners be it with some opposition. At the MTI […]

Interpreting Electroacoustic Audio-visual Music

Thesis (PhD), De Montfort University. https://www.dora.dmu.ac.uk/handle/2086/9898 Abstract The basis of this research project stems from reflections upon the process of composition for electroacoustic audio-visual music. These are fixed media works in which sound and image materials are accessed, generated, explored and configured in creation of a musically informed audio-visual expression. Within the process of composition, […]

Understanding Interpretation, Informing Composition: audience involvement in aesthetic result

IN: Organised Sound, 18(1). pp. 43-59 [April 2013]DOI: https://doi.org/10.1017/S1355771812000234 Abstract This paper documents elements of a research project undertaken between 2008 and 2012. Building upon the Intention/Reception project of Leigh Landy (2006) and Rob Weale (2005), the project sought to investigate audience interpretations for works of electroacoustic audiovisual music and to utilise an expanded understanding of […]